EQ Tips

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dave pace
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EQ Tips

Post by dave pace » Sun Jan 15, 2006 2:37 am

Hope this helps......
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Bass

1) Bass frequencies are omnidirectional. This means the lows within bass instruments contain alot of power and energy, so powerful they can control the overall output of the master mix level. Plus, your bass track should almost always be panned in the center. Panning your bass other than to the center is senseless as it will only generate a mix that is lopsided and artificially hot on one side.
2) Don't EQ your bass with the same frequencies as you used on your kicks. For example, if you boosted 40-80hz in your kick tracks, then boost around 120hz for your bass, or vice versa. It's very important to avoid accumulation of the same frequencies when dealing with lows as these tracks control the overall output level of your mix. By assigning different frequency settings to each low end track, your overall mix level can become louder.
3) Boosting a particular frequency on a kick track, calls for cutting the same frequency by the same amount on your bass track. Specifically, when boosting 80hz on a kick track, be certain to cut 80hz by the same amount on your bass track. Likewise, if you boosted 130hz on your bass track, cut by the same amount and frequency on your kick track. This secret technique will give your song a far more low end sculpted sound, allowing for a hotter overall mix.


Drums

Frequency Selection - If your serious about obtaining a clean and punchy sound for your drums, then you'll quickly learn you must be selective in the frequencies you should to boost and cut for each drum track. Most important to remember - Avoid accumulation of the same frequencies. Particularly, avoid over boosting low end frequencies. This will only muddy up your drums, as well as, mask other important tracks in the mix. Ensure your drum frequencies are even across the board!
Clean it Up - To achieve an overall punchier & cleaner mix, try cutting low end frequencies between 250 - 500hz on drum tracks such as kicks & toms. Cutting frequencies in this range will actually sharpen up drum tracks that sound too bold, harsh, & up-front. For punch, try adding 250 - 350hz into your snare & clap tracks. This will give more snap & body to the rhythm, as well as, balance out where your cut previously on your kick & tom tracks.
Adding Clarity - Cutting out the low frequencies from 100-200hz on cymbal & hi-hat tracks will add clarity while also allowing the other drum tracks that contain natural lows in those same ranges to come through in the mix. Also, boosting highs from 9khz - 12khz will add brilliance to cymbal tracks & boosting around 8khz will add crackle to your snare & clap tracks. If your not satisfied with the depth & feel on your kick tracks, then add a 4db boost at 40hz using a narrow Q of around 20. This will give the kick tracks the punch you're looking for. But ...don't forget...high pass your sub kick tracks from 34hz & below, canceling out unwanted low end rumble.
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Post by D:K:S » Sun Jan 15, 2006 5:47 am

nice

a lot of it is all relative of course, but good guidelines none the less!!

safety
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Post by hutson » Sun Jan 15, 2006 8:30 am

i feel less is more. Subtractive EQ gives you the cleanest most defined sound.
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Post by shapshankly » Sun Jan 15, 2006 1:07 pm

some good tips, but i still don't understand why you would even consider rolling off you sub!!
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Post by nectarios » Sun Jan 15, 2006 3:23 pm

You forgot side-chaining :lol:
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Post by Walter Odington » Sun Jan 15, 2006 9:23 pm

hoopla


dont boost! (hardly ever much at all)
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Post by shapshankly » Sun Jan 15, 2006 10:33 pm

walter is the king of gayers!!!
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Post by moderate » Mon Jan 16, 2006 12:26 am

Apologies in advance, and I already have my coat on, and am hailing a taxi..

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Enough of this bullshit!
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Post by hutson » Mon Jan 16, 2006 7:57 am

= confused.
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Post by mambo dave » Mon Jan 16, 2006 8:58 am

shapshankly wrote:some good tips, but i still don't understand why you would even consider rolling off you sub!!
sampling vinyl? making room for your kick? like it said above you shouldnt let your frequencies accumulate, and stuff below 30hz doesn't really make that much difference anyway except to make your mix louder ( therefore making it SEEM quieter when you limit it :shock: )
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Post by Ren » Mon Jan 16, 2006 10:34 am

dangerous dave wrote:
shapshankly wrote:some good tips, but i still don't understand why you would even consider rolling off you sub!!
...you shouldnt let your frequencies accumulate, and stuff below 30hz
...spot on dave!

We tend to roll it off at about 34hz, that brings a good result and cuts down on hum. Also I found that a very subtle boost on the 55-58hz mark really adds warmth to 808 kickdrums.

:D
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Post by nectarios » Mon Jan 16, 2006 10:47 am

I thought hum was at 50Hz?
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Post by shapshankly » Mon Jan 16, 2006 11:22 am

Rendle III wrote:
dangerous dave wrote:
shapshankly wrote:some good tips, but i still don't understand why you would even consider rolling off you sub!!
...you shouldnt let your frequencies accumulate, and stuff below 30hz
...spot on dave!

We tend to roll it off at about 34hz, that brings a good result and cuts down on hum. Also I found that a very subtle boost on the 55-58hz mark really adds warmth to 808 kickdrums.

:D
how can rolling off at 34 cut down on hum. your speakers can't really produce that sort of frequency, let alone your ears hear it it!!!

still, not causing an argument, but ... what's the point in a sub if you're taking away the frequencies that it is there to generate? sure, put some dip in eq's to make things fit, but i personally feel that cutting a sub below 34/40 is pointless. or in fact, any filtering of the sub is pointless.

i can see why people would dip at 80hz to reduce hum/because it's a noted resonant bass frequency for speakers and rooms, but anything beneath, well, you know...
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Post by Doomo » Mon Jan 16, 2006 11:42 am

Whether the speakers can produce 30 hz or not, if its not cut from the source its still sent through the amplifer. This puts extra load on all the components just to produce a frequency that probably wont be audible.

Dropping the bass right out of any instrument that isnt supposed to have bass also helps tidy up the bottom end Ive found. Spurios bass frequencies seem to find there way into all sorts of sounds, ie pads, drums, even vocals etc.
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Post by alex_virr » Mon Jan 16, 2006 11:53 am

DJ Damo wrote:Whether the speakers can produce 30 hz or not, if its not cut from the source its still sent through the amplifer. This puts extra load on all the components just to produce a frequency that probably wont be audible.

Dropping the bass right out of any instrument that isnt supposed to have bass also helps tidy up the bottom end Ive found. Spurios bass frequencies seem to find there way into all sorts of sounds, ie pads, drums, even vocals etc.
agreed - high passing any sounds that you don't want to interfere with your bass is fine and will really clear up the mix but rolling off below 30hz for a frequency you can't hear is just silly.

you'd probably lose it when its cut to vinyl anyway.
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Post by nectarios » Mon Jan 16, 2006 11:55 am

DJ Damo wrote: Dropping the bass right out of any instrument that isnt supposed to have bass also helps tidy up the bottom end Ive found. Spurios bass frequencies seem to find there way into all sorts of sounds, ie pads, drums, even vocals etc.
A prime example of the less is more attitude ;)
Add effects to that list. You don't want low end in your reverbs at all.
youthful_implants wrote: you'd probably lose it when its cut to vinyl anyway.
Unless the whole room is shaking and I can barely hear the low mids of the bassline whilst the bass/kick channel's meter is going through the roof, I don't roll low end off either. Its obvious when there's some huge lump of deep low sub on the Mackies, but when I was on the Alesis, I simply high passed below 35Hz, took a good look at the meter and then by-passed it.
If the meters where not going through the roof, then there was no problem and I let Shane do his stuff listening though a massive PMC rig in a properly treated room.
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Post by shapshankly » Mon Jan 16, 2006 1:37 pm

oh, don't get me wrong, i rolloff stuff that isn't supposed to be bassy (vocals, guitars, pads etc.) but re: the sub, i'm on nec's ship.

if you've got too much of a problem with real lows, then there is something more intricately wrong that needs fixing. just sticking a filter on, to me, seems to be a daft way of doing it. obviously there are going to be times when something needs to be done, but as a general rule i wouldn't roll off the low end of a sub.

best way, i've found anyway, of controlling an unruly sub is to change the balance of oscillators that are used. sure, if you've just stuck a ridiculous, perfect sine underneath then you're going to find problems, change the balance of that and maybe mix in a bit of square or something and it'll become more manageable, without the need to filter.
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Post by alex_virr » Mon Jan 16, 2006 2:45 pm

shapshankly wrote:oh, don't get me wrong, i rolloff stuff that isn't supposed to be bassy (vocals, guitars, pads etc.) but re: the sub, i'm on nec's ship.

if you've got too much of a problem with real lows, then there is something more intricately wrong that needs fixing. just sticking a filter on, to me, seems to be a daft way of doing it. obviously there are going to be times when something needs to be done, but as a general rule i wouldn't roll off the low end of a sub.

best way, i've found anyway, of controlling an unruly sub is to change the balance of oscillators that are used. sure, if you've just stuck a ridiculous, perfect sine underneath then you're going to find problems, change the balance of that and maybe mix in a bit of square or something and it'll become more manageable, without the need to filter.
so how does that work with a reece bass which is deliberately beating and unruly by definition?
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Post by Walter Odington » Mon Jan 16, 2006 3:06 pm

/\ Thats to do with amplitude modulation, not spectral balance :p you might still want to EQ your reese. I appreciate what your saying with the reese being a madly beating beast, but you still jusdge that bass line as you would any other.

I think rolling off your bass is crazy. Just get your sample/synth how you want it before you start
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Post by shapshankly » Mon Jan 16, 2006 3:33 pm

youthful_implants wrote:
shapshankly wrote:oh, don't get me wrong, i rolloff stuff that isn't supposed to be bassy (vocals, guitars, pads etc.) but re: the sub, i'm on nec's ship.

if you've got too much of a problem with real lows, then there is something more intricately wrong that needs fixing. just sticking a filter on, to me, seems to be a daft way of doing it. obviously there are going to be times when something needs to be done, but as a general rule i wouldn't roll off the low end of a sub.

best way, i've found anyway, of controlling an unruly sub is to change the balance of oscillators that are used. sure, if you've just stuck a ridiculous, perfect sine underneath then you're going to find problems, change the balance of that and maybe mix in a bit of square or something and it'll become more manageable, without the need to filter.
so how does that work with a reece bass which is deliberately beating and unruly by definition?
a reece isn't the sub though is it.

the beating stays, i was on about a whopping great sine wave sitting under everything that is often used as the sub bass.
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